Francesca Woodman and the Kantian Sublime

In her feminist inquiry into aesthetics and the gender dynamics of the Kantian sublime, Claire Raymond studies the photography of Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists such as Julia Margaret Cameron and Clementina Viscountess Hawarden, Raymond moves beyond biographical interpretations of Woodman''s self-portraits. Rather, Woodman is revealed as a conceptually sophisticated artist whose work engages with debates about Enlightenment aesthetics, and the gendering and engendering of the sublime.